Lorraine Kimsa Theatre for Young People

EDUCATION PARTNERS

by L. Frank Baum; with Music and Lyrics by Harold Arlen and E.Y. Harburg Background Music by Herbert Stothart Dance and Vocal Arrangements by Peter Howard; Orchestration by Larry Wilcox. Adapted by John Kane for the Royal Shakespeare Company Based Upon the Classic Motion Picture owned by Turner Entertainment Co. and distributed in all media by Warner Bros Directed by Allen MacInnis November 4 - December 30, 2007 STUDY GUIDE by Karen Gilodo and Thom Vernon with Foreword by Dr. Kathleen Gallagher, PhD. Design by Amy Cheng | Layout by Nikki Weaver

ARTISTIC DIRECTOR Allen MacInnis | MANAGING DIRECTOR Nancy J. Webster TABLE OF CONTENTS

THE STUDY GUIDE 1 UNITS OF STUDY 9-17 Thematic Overview Grades SK-2: Understanding Characteristics Curriculum Connections Grades 3-6: Pre-Show Discussion, Post-Show Exercises, Writing a Letter to the Editor CURRICULUM EXPECTATIONS 2 Grades 7 &up: Pre-Show, Post-Show Grades SK-2, Grades 3-6, Grade 7 & up ACTIVITIES 18-20 THE COMPANY 3 Mix & Match, Word Search, Crossword, Mix & Match The Cast, The Creative Team Timeline

GLOSSARY 3-4 RESOURCES 21 Thematic Keywords and Terms General Theatre Terminology

THE AUTHOR 5 About L. Frank Baum

THE INTERPRETATION 6-7 A Note from the Director A Question for the Production Team

FOREWORD: PEDAGOGICALLY SPEAKING 8 The Role of Improvisation in the Classroom General Rules for Successful Improvisation

LIVE THEATRE IS AN ACTIVE EXPERIENCE GROUND RULES: THEATRE IS A TWO-WAY EXCHANGE: As members of the audience, you play an important part in the Actors are thrilled when the audience is success of a theatrical performance. Please review the following engaged and responsive. We want you to theatre rules with your students prior to your LKTYP visit. laugh, cheer, clap and really enjoy your time at the theatre. However, please be considerate • Food, drinks, candy and gum are not permitted in the theatre. audience members. Talking, whispering and • LKTYP is a nut-free zone. Many children have severe life-threatening excessive movement during a live performance allergies; NO PEANUTS or NUT products may be brought to our is distracting for the actors, and disruptive for theatre. other audience members. • No electronic devices are permitted in the theatre because they affect our sound system. Photography, audio and video recording during a Enhance your visit by encouraging your students performance is prohibited by the Canadian Theatre Agreement. to look at different aspects of the production. Before the show, identify tasks for your class. • Students are not permitted to leave the theatre unless they are Have one group of students looking at the accompanied by an adult. set, another listening for the music and sound effects, a third watching the lighting and a fourth, SEASON PARTNERS the costumes. Compare notes after the show about what they observed. Your students will be more informed and they’ll be surprised by how EDUCATION PARTNERS much they noticed. Ask them to be prepared with one question for the actors after the show. Brainstorm with them about possible topics to get the most out of the experience! THE STUDY GUIDE: Thematic Overview & Curriculum Connections 1

THE STUDY GUIDE

Thematic Overview

Throughout this study guide you will fi nd points of discussion, improvisation exercises, and creative writing activities all intended to investigate through different points of view what the words “home” and “family” mean. You will also fi nd additional Musical Performance extensions on our website at lktyp.ca. When the 2006 Canadian Census results were released in September, many newspaper and media outlets reported on the changes that were recorded in terms of the composition of the family. With more single-parent families (single-parent families headed by men increased 14.6% during the fi ve years prior to 2006) and same-sex partnered families (the number of same-sex couples grew 32.6% between 2001 and 2006) and the decrease in the number of married couples (for the fi rst time ever in 2006, there were more unmarried people aged 15 and over in Canada than legally married people), it is clear that the notion of what constitutes a family is evolving (http://www12.statcan.ca/english/census/Index.cfm).

More than ever, families consist of extended family, friends, and members of a community — not unlike ’s experience both in Kansas and in . Dorothy lives with her aunt and uncle in Kansas, not her biological parents. Indeed, there is no mention of her parents. In Oz, she chooses a family in the , Tinman, and Lion for the duration of her stay. Dorothy, like many of us, is constantly negotiating and renegotiating the defi nition of family.

From the Senior Kindergarten to Grade Two Characteristics Unit, Grades Three to Six Town Hall Meeting and Newspaper Unit, and the Grades Seven and Up Trial and Verdict Unit, students will be encouraged to look introspectively as well as beyond themselves as Dorothy journeys from Kansas to Oz and back again, exploring and expanding “home” and “family.”

LKTYP invites you and your students to participate in the conversation going on in our home. You will notice in this study guide that we are encouraging you to send in your students’ work to be included in our scrapbook. The scrapbook will be placed in a prominent area where students can share the work that they have been doing on The .

Curriculum Connections

THIS STUDY GUIDE will help you to prepare your students to see the play and integrate the performance into your curriculum.

In addition to DRAMA and LANGUAGE ARTS The Wizard of Oz directly relates to student development in the areas of:

KINDERGARTEN CURRICULUM SOCIAL STUDIES Personal and Social Development Individuals and Family Living Language Heritage and Citizenship

HEALTH VISUAL ART Living Skills Creative Work Critical Thinking 2 CURRICULUM EXPECTATIONS: SK-2, 3-6 & 7 and up

CURRICULUM EXPECTATIONS

Grade Sk-2: Understanding Characteristics

By the end of this unit students will: • communicate effectively by listening and speaking. • demonstrate a positive attitude towards themselves and others. • identify feelings and emotions and express them in acceptable ways. • express their feelings of wonder and curiosity about the world. • demonstrate respect for others in group situations. • work co-operatively with others. • communicate ideas (thoughts, feelings, experiences) for specifi c purposes. • demonstrate the ability to move and control their bodies in space and time (e.g., by creating tableaux in small groups).

Grades 3 – 6 Town Hall and Newspaper Unit

By the end of this unit students will: • defend a point of view through speaking and writing in role. • demonstrate an understanding of a character’s point of view through writing and speaking in role, and through using body movement in role. • demonstrate the ability to concentrate while in role in drama and dance (e.g., during an improvisation). • communicate ideas and information for specifi c purposes and to specifi c audiences. • sort and classify information about communities to identify issues, solve problems, and make decisions. • produce pieces of writing using a variety of specifi c forms and materials from other media (e.g., photo sequence) to enhance their writing. • organize information to convey a central idea, using well-developed paragraphs that focus on a main idea and give some relevant supporting details.

Grade 7 and up: The Trial and the Verdict

By the end of this unit students will: • identify and describe categories of works typical of a particular medium. • create media works for different purposes. • demonstrate an understanding of the reasons for democratic decision making. • describe the role of different individuals involved in a trial. • demonstrate an understanding of the basic concepts (e.g., elements, principles) and procedures used in media arts, as well as selected emerging technologies. THE COMPANY: The Cast & The Creative Team GLOSSARY: Thematic Keywords & Terms 3

THE COMPANY

The Cast The Creative Team

Thom Allison Hickory/Tin Woodsman Allen MacInnis Director Molly Atkinson /Glinda/ Paul Sportelli Musical Director Rhoslynne Bugay Schoolfriend//Ozian/Jitterbug Greg Gibson Musician Saccha Dennis Dorothy Nicola Pantin Choreographer Sara Farb Schoolfriend/Munchkin/Ozian/Jitterbug Michael Gianfrancesco Set & Costume Designer George Masswohl / Guard Steve Lucas Lighting Designer Sharron Matthews Miss Gulch/ Witch of the West Michael Laird Sound Designer Paul McQuillan Hunk/Scarecrow Kathryn Westoll Stage Manager Sam Moses Wizard of Oz/Professor Chester Marvel Stéfanie Séguin Assistant Stage Manager Shawn Wright Zeke/Lion

GLOSSARY

Thematic Keywords and Terms

Chosen Family: the family that we create by inviting others into our personal lives (www.vifamily.ca).

Home: 1. one’s place of residence 2. the social unit formed by a family living together 3. a familiar or usual setting 4. a congenial environment (www.m-w.com/dictionary)

Instinctive capacity: the idea that one already possesses the power one seeks.

Saccha Dennis as Dorothy and Sharron Matthews as The Photo: Daniel Alexander 4 GLOSSARY: General Theatre Terminology

GLOSSARY CONT’D

General Theatre Terminology

Concept: an idea that is represented either directorially or through design to interpret a script.

Doubling: the practice of using one actor to play two or more characters.

Improvisation: setting out to solve an imaginary problem with no preconception or planning as to how it will be resolved. Viola Spolin ‘American pioneer of improvisation’ used improvisation to create workshop conditions in which strain, confl ict and self-consciousness dissolve as a player’s problem-solving potential releases in spontaneity and achievement.

Meta-theatrical: theatre that refl ects on itself in order to glean new meanings from its own traditional elements (i.e. the set for The Wizard of Oz is ‘meta-theatrical’).

Musical Theatre: a theatrical form that combines music, song, dance, and dialogue to express the heightened emotions of dramatic storytelling.

Sculpting: a term that is used to describe the process of placing someone in a particular position in order to convey a message to an audience (i.e., Player A places Player B’s arms above their head with clasped hands to show “Champion”). Augusto Boal ‘founder of the Theatre of the Oppressed’ used “sculpting” in Theatre of the Oppressed workshops in order to turn “Spectators” into “Spect ‘actors.’” It is a means by which participants can physically represent issues or ideas using their body.

Setting: where the story takes place.

Tableau: a suspension of movement into absolute stillness, like a snapshot. The tableau is created by players who freeze to form an image using different levels of the space they occupy with the intention of communicating to an audience.

Theatrical Vocabulary: a set of theatrical conventions which establish the world of the play as a system with its own rules and values.

Willing Suspension of Disbelief: the ability to use one’s imagination to overcome what seems illogical (e.g., losing oneself in a science-fi ction novel even though one knows that the premise cannot be true.) THE AUTHOR: About L. Frank Baum 5

THE AUTHOR

About L. Frank Baum

Lyman Frank Baum was born in Chittenango, N.Y. in 1856. When he was fi ve his father became quite wealthy as a result of his business dealings in the oil industry. The family moved to a large country home called ‘Rose Lawn Estate’ where Baum spent the majority of his time as a child since he was home-schooled there until the age of 12. Early on, Baum showed an interest in creative writing and storytelling. At age 15, he began producing his own newspaper called ‘The Rose Lawn Journal’ which is said to have been popular with the residents of his neighbourhood. After dabbling in a number of other professions, including raising chickens, Baum discovered a love of the theatre. He began acting and managing professional theatres — some of which his father owned.

In 1882, Baum married Maud Gage and the couple later relocated to the Dakota Territories (North and South Dakota) where Baum owned and operated, among a number of business ventures, a store called “Baum’s Bazaar.” The store carried a number of household items as well as novelties including candy and ice cream. The store quickly became popular with children who would stop in for a treat and stay to hear Baum tell stories about faraway, magical places. Unfortunately, Baum had to close the store in 1888 due to a drought that hit the community hard. The Baum family moved around as Frank made his living as a journalist for a variety of publications.

Baum met William W. Denslow, an illustrator, through his friend, Opie Reade. By all accounts it seems as though the men could not have been more different; Baum was quiet and calm spirited while Denslow was “serious and gruff” (McGovern). The partnership, however, was productive. In 1900, Baum and Denslow published Father Goose, His Book and it was a great commercial success. Later that year, the pair published The Wizard of Oz. Baum and Denslow continued to work together until 1902 and published numerous other books about the world of Oz in that time. The Wizard of Oz had its fi rst theatrical debut in 1902 and became the greatest success Broadway had ever seen up until that time. Since that success, the story has taken on a life of its own. Baum continued to write sequels to The Wizard of Oz as well as other books and articles in numerous publications. In the last years of his life, he also became a prize winning gardener. After suffering through many years of health problems related to childhood heart problems, Baum died in 1919. His last words are said to have been: “Now we can cross the Shifting Sands,” a reference to the boundaries of Oz. 6 THE INTERPRETATION: A note from the Director

THE INTERPRETATION

A Note from the Director

The Wizard of Oz is such a well-known – and well-worn – children’s classic that I am keenly aware of how our production will have to deal with people’s expectations. Well-loved classics can become so fi xed in our memories that we look for very precise details to evoke all the feelings we want to relive when we return to a favourite book or movie. In recreating a classic like The Wizard of Oz, I feel a responsibility to give the audience something of what they expect if they are familiar with the original movie. However, I also want to blend familiarity with new discovery. We ought to feel that we know this story and but we don’t know precisely how it goes. I guess you could say I want the production to stay one step ahead of the audience members so that in our production, they can’t quite predict how we are going to tell each chapter of the story.

It is the story of The Wizard of Oz that I re-discovered when I fi rst considered it for our 42nd season. The fact that Dorothy lives with her aunt and uncle, and not with her parents, had never really landed with me before. As soon as I considered this as her starting position in the story, her arduous journey to get back home to Kansas from the took on a different meaning for me. Dorothy is a little girl with an altered, maybe even shaky, notion of where her real home is. She believes she has good reasons to run away when her Aunt and Uncle give up her beloved dog to the unreasonable Miss Gulch. If Uncle Henry and Auntie Em can’t, or won’t protect from Miss Gulch, Dorothy has to wonder if they will protect her. Yet, as soon as Dorothy feels a pang of regret about running away (after all, Toto has escaped the witchy Miss Gulch), Dorothy’s attempts to get back to the people who have taken care of her becomes the greatest challenge she has ever had. This theme of needing one’s home, of choosing one’s home, and of chosen families has become very important to how we are interpreting the meaning of The Wizard of Oz.

I have discovered that many friends required several viewings of The Wizard of Oz movie before they realized that not only was Dorothy’s journey to Oz a dream, but that the Scarecrow, Tinman, and Lion were played by the hired hands working on Dorothy’s Kansas farm. It is understandable because, as children, our dreams can seem completely real. Sometimes it is very reassuring to be told “that was only a dream.” In our production, Michael Gianfrancesco and I have decided to emphasize that Dorothy is experiencing a crazy dream. We have chosen to interpret the landscape of dreams as a place where the sets for a hundred different plays have been stored. The world of dreams and the imaginary world of theatrical sets aren’t very different. Dorothy’s dream is like an improvised “play” put on by the people in her life. In it, she is the central character and the play is being performed with the purpose of teaching Dorothy that she has a home, if she wants it, with people who love her. Such a home is a basic human right of every child, everywhere.

Baum states in the introduction to :

Imagination has given us the steam engine, the telephone, the talking-machine, and the automobile, for these things had to be dreamed of before they became realities. So I believe that dreams — day dreams with your eyes wide open — are likely to lead to the betterment of the world. The imaginative child will become the imaginative man or woman most apt to create, to invent, and therefore to foster civilization. THE INTERPRETATION: A Question for the Production Team 7

THE INTERPRETATION

A Question for the Production Team

Question:

How did you make Dorothy’s blue and white dress? Madeleine Kennedy – Age 4

Answer:

We looked at the original Dorothy to try and fi gure out how the skirt was cut and how we wanted it to move. We decided on cutting the skirt as a circle so that when Dorothy moved, it moved beautifully with her. A rectangle, in contrast, would hang and form a bell shape in movement. We also had to consider how to match up all of the gingham checks and when they came together in seams, how they chevroned. When considering the bodice, we put the bust darts under the straps to hide them. We also determined the height and shape of the bodice to maximize a more youthful look for our adult actress. Mary Fulford-Winsor, LKTYP Head of Wardrobe Costume Designs by Michael Gianfrancesco The Role of Improvisation in the Classroom, 8 FOREWORD: PEDAGOGICALLY SPEAKING General Rules for Successful Improvisation

FOREWORD: Pedagogically Speaking

The Role of Improvisation in the Classroom

Dr. Kathleen Gallagher PhD Improvisation, or process drama, involves ways of knowing which people use in their everyday lives. Working in role or improvising a story together, rather than learning the lines of a script, teaches students about the social constructs that shape their lives and allows them to shift perspectives and seek truth in opposites-- to alter action, slow down processes, and create meaning collectively. Process drama often begins with a dilemma, a choice to be made, a decision to take, a side to stand on: Dorothy has gone missing! What are we going to do about her disappearance? Improvisational drama galvanizes the group into action as it invites tension and contradiction; it helps students work within ambiguities in a collective, but not necessarily consensual, process. The real strength of working through whole group improvisations with students-young and old- is that they can live, however briefl y, inside a fi ction that engages who they are, where they come from, and how they might like to proceed. Spontaneous role-play requires higher thinking, refl ection, and an accommodation of old and new ideas that challenge our understandings. Schools need to make more, not less, time in the curriculum for these kinds of extended and creative explorations of important human and humanizing questions.

Dr. Gallagher is an Associate Professor, Canadian Research Chair in Urban School Research in Pedagogy and Policy, and the Academic Director of the Centre for Urban Schooling at the Ontario Institute for Studies in Education of the University of Ontario.

General Rules for Successful Improvisation

NO NEGATION! Participants should be encouraged not to say “no.” The best way to move an improvisation forward is to accept what others offer as new information and build on it. Always answer affi rmatively and watch magic happen! Example: Player A: “Look, it is raining outside.” Player B: “No it isn’t” - The scene has hit a dead end. In this case, call: “say yes and add something new!” NO QUESTIONS! Asking questions in an improvisation puts the onus on the other actor to drive the scene. Example: Player A: “What did you do today?” [Player B must now produce a list of interesting and (worse!) entertaining activities.] Player B: “Umm…well I got up…” In this case call: “Don’t ask a question, offer some information upon which your partner can build!” YES! AND? By using these two words you will inevitably move the improvisation forward Example: Player A: “Look, it is raining outside.” Player B: “Yes! And I forgot to fi x the leak in the roof.” – Now there is context for the scene to build. In this case, encourage by calling: “good! What will happen next?” UNITS OF STUDY: Grades SK-2 Understanding Characteristics 9

UNITS OF STUDY

CURRICULUM Grades SK-2: Understanding Characteristics CONNECTIONS: Personal & Social Pre-Show Development, Language, Living Skills, Creative Work, Musical Prepare students for the activity below. Visit our website at www.lktyp.ca for Performance a useful description of a warm-up activity called, “Portraits.”

Have students: • Discuss “characteristics” generally: environmental, personality, ideal, etc. • Then, move around the room in their own space. Encourage them to think about the space they are in; is it bright/dark? Is the air heavy/light, cool or warm? • Next, while they are moving around, call out specifi c characteristics (i.e. smart, courageous, and loving). Students will “freeze” as they represent the characteristic physically.

Extension 1: Tap students on their shoulder and ask them for one word to describe their characteristic.

Extension 2: Ask students to recreate their frozen image in a group in order to create a frozen picture (tableau). Introduce the idea of using different levels to create an interesting image. Give each group the opportunity to show their frozen picture to the class and ask the class to share their impressions of what they see in the picture (e.g., titles for the picture, dialogue that could be taking place, etc.).

Sharron Matthews as The Wicked Witch of the West | Photo: Daniel Alexander 10 UNITS OF STUDY CONT’D: Grades Sk-2 Understanding Characteristics

UNITS OF STUDY CONT’D

CURRICULUM Grades Sk-2: Understanding Characteristics CONNECTIONS: Personal & Social Post-Show Development, Language, Living Skills, Ask students: Creative Work, Musical Performance • to identify which personal attribute each character feels they lack. eg. Scarecrow (brains), Lion (courage), Tinman (heart). • Why do these characters long for these specifi c characteristics?

Ask students: • to refl ect back on the play. Are there instances when these characters showed intellect, courage, empathy? When? Ask for specifi c examples.

Interview Activity As a class, discuss the following questions with students: How do they describe themselves? What kind of person do they want to be? How would members of their family describe them (i.e. fi ll in the blanks)? “My mom always says I ______” or, “My uncle tells me I am like ______.

Have students: • interview a partner and ask him/her what kinds of characteristics he or she wants. • if students could ask the Wizard of Oz for any characteristic, what would it be? Why?

Extension 1: Visit our website at www.lktyp.ca for detailed instructions on “Sculpting.” Using the sculpting instructions, sculpt your partner into a physical representation of the characteristics he or she wants (choose three). Share with the rest of the class.

Extension 2: Sculpt your partner into a physical representation of the characteristics you most want (choose three). Share with the rest of the class.

Culminating Activity: Draw a picture, or write a letter, on behalf of your partner to the Wizard of Oz showing/asking for the characteristic your partner wants and why your partner deserves it.

Send your drawing/letter to LKTYP to be included in the scrapbook so that other students can see the work from other classrooms. UNITS OF STUDY: Grades 3-6 Pre-Show Discussion 11

UNITS OF STUDY

CURRICULUM Grades 3-6: Pre-show Discussion CONNECTIONS: What is “home”? Individuals & Family Living, Creative Work, The results of the 2006 census were recently made public. In an article in the Critical Thinking, Toronto Star “The Canadian family is slowly being reshaped” (Kopun A-12), the Storytelling following quotation was included: “Family has always been a dynamic institution,” said Alan Mirabelli, Executive Associate of the Vanier Institute for the Family. “If you ask people what their ideal of family is, they’ll simply describe the family they grew up in, but family goes back 3,000 years. It transforms itself.” (www.vifamily.ca) Ask your students: • to defi ne “home.” • what they feel makes up a family? • what they think Mirabelli means when he says: “family transforms itself?”

Saccha Dennis as Dorothy | Photo: Daniel Alexander 12 UNITS OF STUDY CONT’D: Grades 3-6 Post Show Exercises

UNITS OF STUDY CONT’D

CURRICULUM Grades 3-6: Post-Show Exercises CONNECTIONS: Town Hall Meeting and Newspaper: Exploring Dorothy’s Individuals & Family Decisions Living, Creative Work, Critical Thinking, In this exercise, students and teacher will work together in role to actively Storytelling investigate and improvise the situations provided. The intention is to create an experience that feels real; in order to do so, commitment to the exercise is crucial.

Town Hall Meeting:

Structured Improvisation: In order for an exercise like this to work properly certain parameters must be in place.

Students should know: • how long the improvisation will last (5mins, 10mins). • if there will be a way to stop the improvisation for a moment to discuss things out of role? If so, choose a code word the class can use to stop the improvisation and then resume the action where it was left off. Students should however do their best to hold questions until the improvisation has ended. • the setting of the improvisation. • what happened just before the start of the improvisation? • what roles students are playing? Be specifi c (Aunt Em, Hunk, Uncle Henry, Zeke, Hickory, Miss Gulch, sheriff, townsfolk, etc.) Students can also invent new characters if they are appropriate.

The Situation: Kansas

Dorothy has gone missing. Using the teacher-in-role method, as the mayor of Dorothy’s hometown, conduct an inquiry into her disappearance. Lead the class in an investigation by prompting the following questions:

• What time did she go missing? • Did she leave any clues behind? • When was the last time people saw her? What was she wearing? • Could she have run away? Why? • What would have made her so upset that she would run away? • What are we going to do about her disappearance? How are we going to bring Dorothy back home? UNITS OF STUDY CONT’D: Grades 3-6 Post-Show exercises 13

UNITS OF STUDY CONT’D

CURRICULUM Grades 3-6: Post-Show Exercises CONNECTIONS: The Situation: Oz Individuals & Family Dorothy and Toto have arrived in Oz to everyone’s surprise. Lead the Living, Creative Work, class in an investigation by prompting the following questions: Critical Thinking, Storytelling • Who is Dorothy? • Where has she come from? • Has anyone in Oz heard of Kansas? What is Kansas like? • How does Dorothy feel when she fi rst arrives in Oz? • How do we feel about her killing the Wicked Witch? • What are the positive/negative consequences of the Wicked Witch being dead?

Once these and other questions (as determined by the class) have been discussed, bring the improvisation to a close with an action plan of what will happen next (i.e. ,The Citizens of Oz decide to help Dorothy get home.). Keep the Town Hall context alive by referring to it as a real event (i.e., What about when Miss Gulch said ______in the Town Hall meeting? What did she mean by that?). Extension 1: Have students: • Write an entry in their journal as the character they played in the town hall meeting. • Refl ect on what was discussed in the meeting? Was anything decided? Did they feel as though they had a say in the decision that was made?

Extension 2: Have students: • Draw a map of Oz using hints from the play about North, West, East and South. Include this map in the newspaper.

Culminating Activity: Creative Writing Newspaper Assignment (Visit our website www.lktyp.ca for detailed instructions and some helpful suggestions on writing newspaper articles.) 14 UNITS OF STUDY CONT’D: Grades 3-6 Post-Show Exercices

UNITS OF STUDY CONT’D

CURRICULUM Grades 3-6: Post-Show Exercises CONNECTIONS: Divide the class in two and create an edition of the Kansas Gazette/Oz Individuals & Family Standard (or any other newspaper name) as a group. Use the following Living, Creative Work, suggestions/questions to give students ideas of what they can put in their Critical Thinking, newspaper OR brainstorm as a class to develop the newspaper. Make sure Storytelling that students approach the newspaper activity from a number of different points of view and editorial angles (see below).

• What are the headlines/main stories on the front page? • Have students draw or photograph the front page picture and include (in the form of captions) information about what happened in the town hall meeting. • What other stories would be on the following pages? • Who would advertise in this newspaper? Create the advertisements. • Have students write editorials using their journal entry from Extension 1(p.13) or from the perspective of other characters in the play (i.e., Explain, from the Wicked Witch of the West’s point of view, why she fi nds Dorothy threatening. Or explore Miss Gulch’s point of view and why she may feel bad about Dorothy running away from home).

Send in a copy of your newspaper to LKTYP to be put in the scrapbook or send in the original to be posted up around the theatre!

Note: If students have access to publishing programs such as Quark or MS Publisher, encourage them to use this specialized software in creating their newspaper.

FUN FACT TO SHARE WITH STUDENTS

Did you know that before L. Frank Baum started writing children’s stories he founded, and wrote for many different newspapers? UNITS OF STUDY: Grades 3-6 Writing a Letter to the Editor 15

UNITS OF STUDY

CURRICULUM Grades 3-6: Writing a Letter to the Editor CONNECTIONS: Explain that letters to the editor express a personal opinion. A letter is meant Individuals & Family to be a call to action on a specifi c event (in this case Dorothy’s disappearance Living, Creative Work, from Kansas OR arrival in Oz). Students can write in role, or as themselves, Critical Thinking, commenting on the events of their classroom improvisation or on events from Storytelling the play.

Like a newspaper article, the fi rst paragraph should briefl y address: • Who: to whom is the letter addressed? • What: what’s the problem that your opinion (suggestion, critique, or information) resolves? • Where: in what environment/setting is the issue occurring? • When: what is a good time frame for your suggestion or comment to be implemented? • Why: why is the letter being written? Is it intended to suggest, critique or inform? (A letter to the editor is generally a response to something that was printed in an earlier edition of the paper.) • How: how will your ideas be best executed?

The second and third paragraph should outline students’ personal opinions on the story. It should include the following:

• Personal opinion of the issue and why the writer feels this way. • Constructive criticism of other character’s actions. 16 UNITS OF STUDY: Grades 7 & up Pre-Show

UNITS OF STUDY

CURRICULUM Grades 7 & up CONNECTIONS: Pre-Show Heritage & Citizenship, Creative Work, In The Wizard of Oz, families are constructed. In Kansas, Dorothy’s family Critical Thinking, is with her Aunt Em and Uncle Henry; in Oz she chooses a family in the Problem Solving Scarecrow, Tinman, and Lion. Discuss with your class the concept of “family” as it pertains to their lives and the world of the play.

Exercise: Defi ning Family

The Vanier Institute of the Family defi nes family as,

…any combination of two or more persons who are bound together over time by ties of mutual consent, birth, and/or adoption of placement and who together, assume responsibilities for variant combinations of some of the following: • physical maintenance and care of group members, • addition of new members through procreation or adoption, • socialization of children, • social control of members, • productive consumption of goods and services, and • affective nurturance – love.

Family Service Canada defi nes family in the following way:

As a matter of policy and practice, Family Service Canada considers defi ning “family” in the broadest and most inclusive way. In practice, Family Service Canada support “families” as being self-defi ning and promotes that all types of families be respected and supported (www.familyservice.org).

The Family Coalition (a political party) defi nes family in the following way:

A family is defi ned as those individuals related by ties of blood, marriage or adoption. Marriage is the union between a woman and a man (http://www.familycoalitionparty.com/policies/policies.htm#family).

Ask students: • how they feel about these defi nitions. • which defi nition they feel is the most suitable. Why? • is there anything they would change or add to these defi nitions? UNITS OF STUDY: Grades 7 & up Post Show

UNITS OF STUDY

CURRICULUM Grades 7 & up CONNECTIONS: Post-Show Heritage & Citizenship, Creative Work, The Trial Critical Thinking, Dorothy runs away from home because she feels misunderstood. She feels Problem Solving as though her caregivers are not paying enough attention to her fears and worries. In this exercise everyone in the class has a chance to participate in Dorothy’s search for the reasons why she feels the way she does at the outset of the play. Is Dorothy’s Kansas family (Aunt Em, Hunk, Henry, etc.) justifi ed in surrendering Toto to Miss Gulch?

Main Activity This exercise explores issues of fairness and justice. Encourage students to actively participate in every capacity.

In order to set this exercise in motion, brainstorm with students: • what a courtroom looks like (set up your classroom to refl ect this). • who is involved in the judicial process (judge, jury, lawyers, press, courtroom sketch artist, bailiff, etc.). Have students take turns in the numerous roles available. • what kind of language, legal jargon, and tone of voice is used in a courtroom? • who could be put on the stand to testify? Why? • who could be the judge? Or could this be a mediation between those involved? • a sense of what might happen next with the story. • objective insight into the story.

Review the guidelines of Improvisation (p. 8) before you begin the exercise:

Culminating Activity: Resolution As a class create a ‘verdict’ on Dorothy’s trial. Decide how the verdict will be issued [i.e., a large decree designed by the class, a video-taped television report (i.e. “Breaking News! The verdict in the case of has just been announced…”) webcast or blog report].

Note: Usually court verdicts are “guilty/not guilty.” However, for the sake of deep exploration into the characters’ motivations, the verdict determined by your class can take the form of an account of the motivations behind the characters’ actions (i.e., the reason behind Glinda’s decision not to inform Dorothy of the ’ power to return her home until AFTER her long journey).

Extension 1: Your class may instead choose to put Dorothy on trial for dropping a house on the or Glinda for not telling Dorothy all she had to do to go home was click her heels three times before she encountered all the dangers. 18 ACTIVITIES: Mix & Match

Using a pencil, match up the characters with the things they have asked MIX the Wizard of Oz for! & MATCH <

ACTIVITIES: Word Search, Crossword 19

WORD N G S S G G V P U S H X W Z H SEARCH DOROTHY A X E R Y E K N O M A O F P U HOME C N E E W H X V U P R S M D N HUNK L T O P B A C V R C P C N E K KANSAS I H B P R I J W E N H I K A T LION O T M I V D O R O T H Y E I K MONKEY F W J L M E A K G C S G N S V OILCAN A I O S J C U I T W E M V Y G POPPIES S S T Y S Z L I O N A B N P V RUBYSLIPPERS Q T Z B B B W I V N U H T L L SCARECROW A E T U L A V S M J Y L J T U TINMAN V R J R F C E W N Z J B W L T TWISTER C P A V K E Y N I M Z O W K H WITCH A S J U H U S I P Q T N E W M I C K D C Y M K Y R Y M S P Q

CROSSWORD

ACROSS 2. Can be good or bad 5. A person with magical powers 6. Main Character in The Wizard of Oz 7. Was originally a woodsman 8. Dorothy’s way home 10. King of the jungle 11. A weather phenomenon 13. Where you live 14. A story of magic and wonder 15. Police offi cer 16. Repeat of #7 across

DOWN 1. Played the character “Dorothy” in the 1939 movie version of The Wizard of Oz 3. Dorothy’s pet 4. Last name of the author who wrote The Wizard of Oz 9. Dorothy’s fi rst stop in Oz 12. Used by farmers to frighten birds 20 ACTIVITIES: Mix & Match Timeline

Consider the Context: Research MIX & L. Frank Baum published The Wizard of Oz in 1900 and since then there have been numerous theatrical, literary, fi lm, and television productions and adaptations. Have MATCH students do some research to match up the dates in the left-hand column with the TIMELINE events from the right-hand column, and then create a timeline with the events in the correct chronological order.

Dates Events 1856 Feb. 1 - Robert Stanton Baum is born to Frank and Maud Baum in Syracuse, N.Y. 1856 May 6 - Lyman Frank Baum dies at home in Hollywood. He is buried in Forest Lawn cemetery in Glendale, Calif. His last words, "Now we can cross the shifting sands," refer to the barrier that separates this world from the land of Oz. 1900 June 16 - The Wizard of Oz opens on stage at the Grand Opera House in Chicago. 1922 Feb. - Three Academy Awards are given to MGM's The Wizard of Oz: Best Song ("Over the Rainbow"); Best Original Score; and a Special Award for Outstanding Juvenile Performance to Judy Garland. 1969 MGM's The Wizard of Oz (1939) is re-released for a second time in the United States. 2003 Jan. 21 - The Wizard of Oz musical opens in New York City's Majestic Theater on Columbus Street and becomes the greatest Broadway success of its time 1975 Aug. 15 - MGM's The Wizard of Oz Hollywood premiere is at Grauman's Chinese Theater in Hollywood. Maud Baum and family attend the event. 1898 June 10 - Frances Gumm (Judy Garland) is born in Grand Rapids, Minn. 1955 Feb. 11 - Baum submits three plays, The Maid of Arran, Matches and The Mackrummins, for copyright. The Maid of Arran opens at Baum's Opera House in Gillmor, Pa. Baum stars in the lead role of Hugh Holcomb using the stage name of Louis F. Baum. Nov. 9 - Baum marries Maud Gage in the Gage's Fayetteville, N.Y., home. 1939 Baum opens his own print shop in Bradford, Pa., and works for The New Era newspaper. The Chittenango city directory also lists him as a salesman for Neal, Baum & Co., Wholesale Dry Goods. 1919 Baum and his younger brother Harry publish The Rose Lawn Home Journal for his family and neighbors. Baum probably received the printing press used to produce the paper as his fifteenth birthday present. The monthly paper lasts three years. 1903 Dec. - The Royal Shakespearean Company presents a new musical version of The Wizard of Oz. 1978 Aug. 1 - The Wonderful Wizard of Oz is registered for copyright. 1989 Wicked, the musical about Oz prior to Dorothy’s arrival opens on Broadway and is a commercial success. 2003 Baum publishes a specialty newspaper called The Stamp Collector. 1987 May 7 - According to family legend, Baum discovers "Oz" as the name for his American fairyland when he spots his bottom file drawer - labeled "O-Z”. 1940 Sept. - The Smithsonian Institute acquires an original script from MGM's 1939 classic, The Wizard of Oz. 1902 Sept. 20 - Baum moves his family to Aberdeen, South Dakota. Maud already has two sisters living in the Dakota Territory. 1888 June 22 - Actress Judy Garland dies in London. 1875 A feature film version of , produced by Universal, opens. The all-star cast include Diana Ross as Dorothy, Michael Jackson as the Scarecrow; Nipsey Russell as the ; Ted Ross as the ; Lena Horne as Glinda; Richard Pryor as the Wizard. 1886 Jan. 5 - The Wiz opens on Broadway at the Majestic Theater on 44th Street and goes on to win seven Tony Awards. They are: Best Musical Score; Best Supporting Actor (Ted Ross/Tin Woodman); Best Supporting Actress (Dee Dee Bridgewater/Glinda); Best Director (Musical); Best Costumes; and Best Choreographer. The production is directed by Geoffrey Holder. 1882 May 15 - Lyman Frank Baum is born in Chittenango, N.Y. to Cynthia and Benjamin Baum. Visit www.lktyp.ca for the correct timeline RESOURCES 21

RESOURCES

Baum, L. Frank. Introduction. The Lost Princess of Oz. By Baum. Illustrated by John R. Neill. New York: Books of Wonder/ W. Morrow, 1998.

Baum, L. Frank. The Wizard of Oz. New York: Aladdin Paperbacks, 1999.

McGovern, Linda. “The Man Behind the Curtain: L. Frank Baum and the Wizard of Oz.”Literary Traveler. September 20, 2007. http://www.literarytraveler.com/authors/l_frank_baum.aspx. Sept. 12 2007.

Rudsack, Stephanie M. “Writing a Newspaper Article.” Media Awareness Network. 2007. September 20, 2007. http://www.media-awareness.ca/english/resources/educational/lessons/secondary/broadcast_news/writing_newspaper_ article.cfm

Spolin, Viola. Improvisation for the Theater. Evanston, Illinois. Northwestern University Press, 1994.

“Defi nition of Family.” Family Services Canada. October 1999. September 20, 2007. http://www.familyservicecanada.org/_fi les/social_action_advocacy/defi nition

“Defi nition of Home.” Merriam Webster Online. 2006-2007. September 20, 2007. http://m-w.com/dictionary/home

“Defi nition of Family.” Vanier Institute of the Family. September 20, 2007. http://www.vifamily.ca/about/defi nition.html

“Discovery School Puzzlemaker” Discovery School. September 20, 2007. http://puzzlemaker.school.discovery.com/ http://www.puzzlemaker.com/WordSearchSetupForm.html

Arts Impact: Making a difference in the lives of students

LKTYP is proud to have Great-West Life, London Life and Canada Life as lead sponsors for its Arts Impact program, which provides opportunities for schools in low-income areas of Toronto to participate in quality arts education. Arts Impact’s goal is to deepen students’ understanding of theatre, allowing them to be inspired by the material presented on stage and to think in ways that challenge their own perceptions.

Connections: Addressing the pattern of poverty

There is empirical evidence that children who live in poverty are at greater risk of dropping out of school. Studies have also proven that exposure to arts improves scholastic ability and attendance. Thanks to the generosity of CIBC World Markets Children’s Miracle Foundation, LKTYP can offer special subsidized tickets to qualifying schools. LORRAINE KIMSA THEATRE FOR YOUNG PEOPLE (formerly Young Peoples Theatre) is the largest Theatre for Young Audiences (TYA) company in Canada and a signifi cant institution in the Canadian professional theatre community. Over our 42-year history we have produced many of the most important works that now form the canon of plays for young audiences in this country. Learning is at the centre of everything we do and LKTYP is renowned as the showplace for presenting important TYA work developed elsewhere. In addition to being a producer and presenter of theatre, LKTYP has also been home to a year-round Drama School for youth since 1969.

At the centre of LKTYP’s artistic policy is a desire to have a positive and lasting impact on the emotional, social, and intellectual development of young people in order for them to grow into the unique and wonderful people they were born to be. At LKTYP we also believe that the more challenging, the more hostile, the more ‘isolated within-the-crowd’ our world becomes, the more we need art to help us interpret the universe, connect with each other, and imagine a better future. If adults need this, kids need it more.

The aesthetic vision for LKTYP is one where three streams of performance are given importance. Firstly, the classics of children’s literature from around the world offer children membership in an ancient childhood, renewing in them the images and inspirations of our own lives as children. Secondly, contemporary works and vigorous new Canadian play development ensure continuing relevance to the real lives of kids. Finally, the Drama School creates theatre for youth by youth.

Photo: Ted Simonett Allen MacInnis Artistic Director

Education and Participation Department Lorraine Kimsa Theatre for Young People Karen Gilodo, Ed. Services Coordinator 165 Front Street East Wayne Fairhead, Consultant Toronto, ON M5A 3Z4 Thom Vernon, Director 416 862-2222 416 363-5131x230 www.lktyp.ca [email protected]

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